When a chemist slides a pack of sanitary napkins, wrapped in newspaper, under the counter, the lead quizzes him, “Charas gaanja de rahe ho?” But this outlook isn’t surprising since that time of the month in an Indian woman’s life is usually greeted with shame, social awkwardness and forced seclusion. So the story of an innovator who strives to separate the stigma attached to the biological cycle, whilst drafting a blueprint to manufacture affordable sanitary pads is inspirational. But Pad Man socks this societal taboo in such a Films Division style, the message it wants to convey literally makes it to the dialogue sheet.And while one would laud the makers for crossing swords with self-appointed cultural curators, the whole affair ends up being a tedious public service offering.

Inspired by the life and innovations of Padma Shri Arunachalam Muruganantham — which also inflicted upon cinema-goers the utterly uninspiring Phullu — this one introduces us to Lakshmikant (Akshay Kumar), whose life revolves around his metal workshop and his wife Gayatri (Radhika Apte). On repurposing a toy monkey to give up beating drums and chop onions, we’re introduced to Lakshmi’s knack for innovation. When he learns of the “ganda kapda” his wife uses during her monthlies, he admonishes her, saying he won’t even clean his cycle with it. But sanitary products are beyond his means, so Lakshmi must make his own — even if this requires having to test it on himself or be forsaken by his wife, family and the entire village.

Every message in this film is first hammered in, then pounded down, then knocked about. “Pachpan” for a pack of sanitary pads is a princely sum and we note this the first time it’s brought up in conversation. But then, the lead must ponder to himself too: “Itni halki cheez ka itna mehenga daam?” Then, he must say to no one in particular that the ‘free’ in the brand’s name is deceptive, given its price. Then, a dozen others dismiss it for being too mehenga and eventually, the problem unfolds like an ACP Pradhyuman mystery.

Through the proceedings, one can’t ignore the uninhibited fascination characters here have when they discover something. On learning about cellulose fibre — the raw material that goes into a sanitary pad — the first reaction is, “Sokhta bhi hain, sukhta bhi hain. Jadoo hain!” But true magic is Sonam Kapoor tapping her manicured fingers over a tabla (she plays a maestro of sorts). Kapoor here is Pari, a management grad who becomes Lakshmi’s first guinea pig, and later his strongest ally. When she visits his workshop, he removes a dusty cover to reveal his novel contraption, leaving her dazzled. “I don’t believe it!” she exclaims. Read Also:Padmaavat Movie Review

When a lone tear slides down Akshay Kumar’s creaseless face in a scene, one is assured, there’s an awareness of the larger picture. Kumar, who impressed us in character-driven roles (Airlift, Baby, Special 26), seems a bit off here. While he’s committed to his craft, his character’s quirks are amplified to the point of caricature. That his Lakshmi struggles to string a sentence in English, results in lines such as “No thinking, living-living-living”, “Mad only becoming famous” and “Money making one man smile, good-doing make many woman smile”. If only that smile extended across the screen. Radhika Apte as the docile bahu who is perennially wailing in every second scene is a character that’s largely forgotten in the second half, while Sonam Kapoor as the animated Delhi gal out to infuse entrepreneurial spirit into the social innovator does neither impress nor disappoint.

The film ticks every question it hopes to raise — if every female goes through it, why should it lead to embarrassment or even taint one as ‘apavitra’? But it barely alters the squeamish attitude many hold against the routine discomfort biologically assigned to all womankind. And this is where R Balki slips. It was a noble cause for sure, if only the makers would have soaked up some of the melodrama.

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